Space battles are synonymous with Star Wars films. The original trilogy is fondly remembered for ILM’s use of motion control and miniatures. These days, like on The Last Jedi, digital ship models, photorealistic rendering and simulated crashes and explosions are of course the norm.
But to ensure the space battles in this latest Star Wars adventure echoed those memorable scenes from the first films, ILM employed several ways to bring them to life, even starting an in-house project to copy – at least to some degree – the look and feel of the original motion control miniature movements.
vfxblog recently visited ILM London to find out more on that process, plus a whole bunch of other things about the scenes in which Poe Dameron (Oscar Isaac) takes on the Dreadnought, and when Kylo Ren (Adam Driver) launches his spinning attack on the Resistance cruiser.
Continue reading Ten things I learned from ILM about ‘The Last Jedi’s’ space battles
One of my favourite articles to write this year: a look at The Shape of Water effects with Legacy and Mr. X, for VFX Voice magazine.
Denis Villeneuve’s Blade Runner 2049 is one of the 10 films short-listed for the VFX Oscar. I’ve covered several aspects of the film so far including with overall visual effects supervisor John Nelson, but here is a brand new interview with Double Negative visual effects supervisor Paul Lambert. DNEG was responsible for views of future Los Angeles, Joi the holographic girlfriend of K, and a memorable ménage à trois featuring Joi and K and Mariette.
Check out the Q&A below, plus a befores and afters video breakdown of many of these visual effects and other shots in the film by studios including Framestore, Atomic Fiction, MPC and Rodeo FX. Continue reading Blade Runner 2049: going deep with DNEG
The January 2018 issue of VFX Voice has a piece I wrote on Oats Studios, Neill Blomkamp’s experimental outfit.
It was such a pleasure to be able to interview Bong Joon-ho, the director of Okja, about his experience with VFX on the film. Check it out at Cartoon Brew.
The latest VFX Voice magazine – January 2018 – has a whole bunch of features I was able to contribute to, and I’ll run through them over the next few days. First up is a piece looking at the VFX Oscar contenders.
Scenes of ships darting across a salt flat-like looking environment and tearing up shards of red crystals permeated the early trailers for The Last Jedi. But what was this world, and what was the major battle teased there?
The final film revealed the location to be Crait, the location of an old Rebel base where the Resistance now seeks refuge to send out a message for help. But the First Order launches a swift attack, and a battle along, and even below, its white surface plays out. Here’s overall visual effects supervisor Ben Morris from Industrial Light & Magic on what was required to bring the exciting Crait sequence to life – including its incredibly distinctive redness. Continue reading Crafting Crait: ILM’s VFX supe on how Rian Johnson wanted to go ‘redder, redder, redder’